DOI Heft:
No. 67 (October 1898)
DOI Artikel:Marx, Roger: The renaissance of the medal in France
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19230#0034
The Renaissance of the Medal in France
phases of French thought.
More sensitive and more
imaginative than M. Chap-
lain, and more solicitous of
grace and distinction, at once
ingenuous and subtle, he
recalls Proud'hon, inasmuch
as, like him, he has the gift
of realising, arousing, and
making evident at the first
glance the meaning of the
most abstract generalities.
In his allegories, as in his
symbols of faith and love and
maternity, poetry and truth
are delightfully mingled.
His whole work proclaims
and sings the beauty of
womanhood, now revealed
quite unclothed, now the
contour of the form left to
plaquette ' by daniel uupuis
movement, is also an incentive to fresh rivalry be divined beneath
between them. Chaplain is remarkable for his the airy nutter of
force. His works gain fulness by the boldness of well-nigh trans-
their plan, their sober
style of draughtsman-
ship, and the pro-
nounced fondness of
their author for power-
ful figuration. He is
above all a rigorously
truthful portraitist, ex-
celling in the charac- £.. ' *<t 2 "M "la tour eiffel" medal.
terisation and the IRKhkL. v W'tM. by a- "iarpentier
definition of the male
physiognomy. His
series of portraits of V parent draperies. These
the members of the garments, flowing in harmo-
nious folds, have been com-
[l assistance publique
pared to those seen in
Grecian statuary and in the
by dakiei. dupuis coroplastes of Tanagra. It
would be more correct to say
that M. Roty has rejuven-
Academy of ated the art of antique drapery, and has derived
Fine Arts de- therefrom many exquisite effects. His, too, is the
serves hence- credit of having restored to honour the plaquette,
forward to be which would seem to have lost its use since the
regarded as Renaissance.
classic. M. In chronological order between M. Chaplain
Roty's art re- and M. Roty comes M. Daniel Dupuis, somewhat
marriage medal by o. roty veals other less original perhaps than the others, but most
phases of French thought.
More sensitive and more
imaginative than M. Chap-
lain, and more solicitous of
grace and distinction, at once
ingenuous and subtle, he
recalls Proud'hon, inasmuch
as, like him, he has the gift
of realising, arousing, and
making evident at the first
glance the meaning of the
most abstract generalities.
In his allegories, as in his
symbols of faith and love and
maternity, poetry and truth
are delightfully mingled.
His whole work proclaims
and sings the beauty of
womanhood, now revealed
quite unclothed, now the
contour of the form left to
plaquette ' by daniel uupuis
movement, is also an incentive to fresh rivalry be divined beneath
between them. Chaplain is remarkable for his the airy nutter of
force. His works gain fulness by the boldness of well-nigh trans-
their plan, their sober
style of draughtsman-
ship, and the pro-
nounced fondness of
their author for power-
ful figuration. He is
above all a rigorously
truthful portraitist, ex-
celling in the charac- £.. ' *<t 2 "M "la tour eiffel" medal.
terisation and the IRKhkL. v W'tM. by a- "iarpentier
definition of the male
physiognomy. His
series of portraits of V parent draperies. These
the members of the garments, flowing in harmo-
nious folds, have been com-
[l assistance publique
pared to those seen in
Grecian statuary and in the
by dakiei. dupuis coroplastes of Tanagra. It
would be more correct to say
that M. Roty has rejuven-
Academy of ated the art of antique drapery, and has derived
Fine Arts de- therefrom many exquisite effects. His, too, is the
serves hence- credit of having restored to honour the plaquette,
forward to be which would seem to have lost its use since the
regarded as Renaissance.
classic. M. In chronological order between M. Chaplain
Roty's art re- and M. Roty comes M. Daniel Dupuis, somewhat
marriage medal by o. roty veals other less original perhaps than the others, but most